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Thread: Warren Beatty Reds DVD 25th Anniversary release interviews

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    Default Warren Beatty Reds DVD 25th Anniversary release interviews

    http://www.premiere.com/feature/3167...nd-speaks.html

    Warren Beatty: The Legend Speaks
    A sneak preview of the rare in-depth interview with the filmmaking icon from the November 2006 issue of Premiere, on sale October 10.

    By Holly Millea

    In his own words, Warren Beatty — and some significant others — reflect on his life, his loves, and his more than 45 years as a risk-taking actor, producer, writer, and director.

    BEATTY ON THE DEMOCRATS' CURRENT QUANDRY
    "It's difficult to exceed the narcissism of a liberal intellectual. A liberal intellectual always wants to say whatever it is he wants to say a little more interestingly than the last liberal intellectual. So by the time ten liberal intellectuals have stated their view on an issue, the listener can be quite confused, unlike the prescribed talking points that are dealt out from the top of the conservative movement. The liberal movement is not so efficiency-minded in the delivery of its agenda."

    BEATTY ON WHY HE DOSN'T MAKE MORE MOVIES
    "I used to say that for me, making a movie was like vomiting. I really did not look forward to it, but after I did it, I felt better. And when I have such a full life, as I do now, the periods of not wanting to vomit grow longer. Because when I vomit and then I'm producing and I'm directing and I'm writing and I'm acting and all of that nonsense, it's sometimes sickening."

    BEATTY ON THE LAST TIME HE CRIED
    "Well, the other night I had a dream that I went to pick up my 11-year-old [Ben] at camp and I hadn't seen him for four weeks and when I got there he had grown up, he was about 22. And I began to weep that I had missed that time. I woke up in the middle of that dream and I was weepy."

    BONNIE AND CLYDE COWRITER ROBERT BENTON ON CASTING WITH BEATTY
    "We were in New York to watch screen tests of possible Bonnies. We walked into this office building on Madison Avenue, and there was a model there, and she turned and saw Warren and Warren sort of started toward her and she backed up into the wall by the elevator. It was mesmerizing. She was totally his for the day. Warren had an unbelievable sense of women, and the what, and when, and where was astounding."

    FREQUENT COSTAR GOLDIE HAWN ON BEATTY'S LOVE OF WOMEN
    "Now, maybe he loved too many women in his early days. But it wasn't all about sexuality. It was about his tenderness. Warren by nature is a caretaker. Yes, he's maddening. Yes, he's stubborn. But the bottom line is the nature of that animal is good. His intentions are pure."

    BEATTY ON ANNETTE BENING, WITH WHOM HE FINALLY TOOK THE MARITAL PLUNGE
    "I was never divided on the subject with Annette. I was never divided on the subject of having a child. And I was never divided on the subject of her integrity. Or intelligence. Or capacity to love. I think talent is energy, and let's just say she's very talented. [laughs] See, I think that there's something in the unconscious that is the iceberg, and then there's the tip of the iceberg, that's the conscious. And when I met Annette, I thought, Oh, I see. Right away I thought, I think I have an idea of what's going to happen here."


    --------------------------------------------------------------------------------
    Read the whole 12-page interview with Warren Beatty in the November issue of Premiere, on sale October 10.

    http://www.foxnews.com/story/0,2933,218101,00.html


    Beatty: Reagan Wanted Happy Ending for 'Reds'
    Thursday, October 05, 2006

    By Roger Friedman

    Warren Beatty says that when he showed "Reds," his four-hour epic about
    the Bolshevik revolution to President and Mrs. Ronald Reagan at the White House in 1981, the president had two comments.

    "First he said, he was very admiring of what we’d done and how we’d made it," Beatty said at Wednesday night’s 25th anniversary showing of "Reds" at Lincoln Center. "And then he said he was kind of hoping for a happy ending."

    The unhappy ending concerns the love story of journalists John "Jack" Reed
    and Louise Bryant, whose turbulent marriage is set against the downfall of
    Czarist Russia and the rise of Communism. Reed — played by Beatty — dies
    at the end of the movie.

    Beatty said that Reagan — whom he’d known for years — was charming but
    probably not sympathetic to the characters in the movie. The Oscar winning
    actor-director also said he falls more in the camp of Ronald Reagan Jr., a
    liberal Democrat, and that "no one is prouder of him than his mother" —
    meaning Nancy Reagan.

    Beatty also said that movie making was "a bit like vomiting. You dread it but
    you have do it."

    "Reds" won four Oscars in the spring of 2002, but Beatty recalled that Charles Bludhorn, chairman of Gulf and Western, the company that owned Paramount Pictures at the time, urged him not to make it. "He said, 'Take $30
    million. Go to Mexico, make a movie for a million dollars and keep the rest,
    just don’t make this movie.'"

    Beatty made “Reds,” one of my all-time favorite movies, back in 1981. He
    won the Oscar for best director, and two of his supporting actors — the great Maureen Stapleton and an incredibly good Jack Nicholson — won, too. The fourth Oscar went to cinematographer Vittorio Storaro.

    But Beatty never saw the movie with an audience, never did publicity and, until now, “Reds” has not been available on DVD.

    Twenty-five years later, all that has changed. Paramount Home Video has released a special edition coming on Oct. 17 and last night, Beatty and wife
    Annette Bening were special guests at Lincoln Center’s Alice Tully Hall for a screening, Q&A and reception.

    To say “Reds” went over like gangbusters is an understatement. After viewing the film — with a short intermission — the discerning audience gave Beatty not one but two standing ovations.

    Ethan Hawke and actor pal Josh Hamilton were just two of the celebs who braved the pouring rain and sat through the show last night.

    Beatty, who almost never does publicity for his films, was floored by the enthusiastic response — and it showed. What was it that surprised him at this screening?

    “How much world events have changed to make the movie even more relevant,” he told me. “We were between wars in 1981 and, dare I say, maybe taking a victory lap after finishing Vietnam. Now, with this war on our
    minds, a movie about a revolution seems more relevant.”

    Indeed, a couple of scenes in “Reds” really got the audience going. In one, a
    discussion of whether or not to vote for Woodrow Wilson, considering his
    broken promise to keep the U.S. out of World War I, was met with rueful
    laughter.

    And later, when Beatty, playing journalist-turned-socialist Reed, makes a speech to Arabs, the language is changed to include the word “jihad.” This word didn’t mean much to Americans in 1981. It means everything now.

    And all this, considering that “Reds” is set in the years 1905-1919, is what’s amazing. Beatty and writer Trevor Griffiths (with a cadre of uncredited helpers including Elaine May) really fashioned a masterpiece for the ages.

    “Reds” is the love story of writer Reed, the author of “Ten Days That Shook
    the World,” and his wife, journalist Bryant (played byDiane Keaton, who was
    Oscar-nominated for her work).

    Nicholson plays playwright Eugene O'Neill and Stapleton is socialist activist
    Emma Goldman. Gene Hackman has a big, memorable cameo, and there are numerous excellent subsidiary performances by Edward Herrmann, Paul Sorvino and the late real-life writers George Plimpton and Jerzy Kosinski.

    There is also a shimmering production design by the late great Dick Sylbert that, coupled with Storaro’s work, makes “Reds” a visual feast. This will be a must-have DVD for anyone interested in great filmmaking.

    For Beatty, this is a season of DVDs, by the way. “Bugsy,” his great mobster flick, is coming out Dec. 15.

    For each of these discs, Beatty has sat down and done a DVD extra interview. But, like Steven Spielberg, he refuses to do scene-by-scene commentary (for even more Beatty insights, check out Holly Millea’s 8,000-word profile in the new issue of Premiere magazine).

    I did not ask Warren about an old canard concerning “Reds.” That is that Woody Allen’s “Zelig,” a faux documentary, was meant as a parody of the Beatty epic.

    Both films intersperse the action with interviews with historic figures. The
    main difference is that Beatty’s are real, and Allen’s, of course, are fake.

    Beatty managed to round up a large selection of important people from
    Reed's and Bryant’s time including author Rebecca West (“I had a crush on her,” Beatty revealed last night), Adela Rogers St. Johns, Hamilton Fish, revered historian Will Durant and legendary vaudevillian George Jessel (who died six months before the film was released).

    All of these people infuse “Reds” with a sense of humor that most of us who
    remembered the film well had forgotten.

    Beatty himself has a brilliant cooking scene in the Reeds’ small kitchen that is part Chaplin, part Buster Keaton and maybe a pinch of Allen’s lobster scene
    from “Annie Hall.”

    It’s not what most people think of when they think “Warren Beatty” — as
    demonstrated last night by a beautiful young woman who snuck into a picture with the actor and another woman.

    “That’s OK,” she said. “We’ll just make a sandwich.”

    Meanwhile, Beatty’s better half, Bening, was also on hand, and off-duty from
    rearing the couples’ four kids.

    “I’m very much about ‘Did you finish this? Did you do this?’” she says of their schoolwork.

    Somehow, though, she managed to make two films this year — “Mrs. Harris” for HBO and the forthcoming “Running with Scissors,” based on Augusten
    Burroughs' memoir. How did she like seeing “Reds” on the big screen last
    night?

    “It’s my second time in a few days,” she admitted. “But I was swept right in.
    That performance by Diane Keaton is amazing!”

    There’s more to come with Beatty, so stay tuned …


    Last edited by HWBL; October 6th, 2006 at 02:46 AM.
    Warren Beatty: actor, director, writer, producer.

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    http://www.telegram.com/apps/pbcs.dl...NEWS/610060340

    Friday, October 6, 2006
    Beatty: ‘Reds’ was fortunate lunacy

    By A.O. Scott THE NEW YORK TIMES


    “What kind of lunatic would make a movie like this and ask someone to invest in it?”
    asked Warren Beatty, reached by telephone recently at his home in Los
    Angeles. It was a rhetorical question, since the movie he was talking about
    was “Reds,” the 3 1/2-hour historical epic he wrote (with Trevor Griffiths),
    directed and starred in 25 years ago.

    The point he was making had less to do with his own sanity than with the
    movie business, which he is not alone in believing to be far more risk-
    averse — and less willing to spend money on the potential follies of ambitious
    directors — than it was back then, when Paramount put up the money
    for “Reds.”

    Large-scale costume dramas are still undertaken from time to time, but the
    scope, the seriousness and the subject matter of “Reds,” which immerses the
    audience in the factionalism of the early-20th-century American left, as well
    as in the spectacle of the Bolshevik Revolution and the love lives of obscure
    intellectuals, make it unusual.

    To revisit the film — which is being released on DVD Oct. 17 — is to
    acknowledge that they don’t make them like that anymore, and that they
    didn’t make very many even when they did.

    According to Beatty, “Reds” was the last Hollywood picture to be released
    with an intermission, and it does, in retrospect, seem to come at the end of
    a line of grand, sometimes grandiose movies that stretches back from
    the “Godfather” series, through “Lawrence of Arabia,” to “Gone With the
    Wind.”

    “Reds” was generally admired when it first came out. The New York Film
    Critics Circle named it the best picture of 1981, and it was nominated for 12
    Oscars, winning three (best supporting actress for Maureen Stapleton, best
    cinematography for Vittorio Storaro and best director for Beatty.)

    Though it has not previously been available on DVD, a format to which its
    director is a recent convert, the movie has not really been forgotten, either.
    It features Beatty in an especially dashing performance, playing the radical
    journalist John Reed, and Diane Keaton in top form — sexy, unpredictable,
    quick-witted and tough — as Louise Bryant, Reed’s colleague, comrade and wife.
    Jack Nicholson, in one of his last entirely un-self-conscious
    performances, plays Eugene O’Neill, and Stapleton steals a handful of scenes
    as the indomitable Emma Goldman.

    “Reds” remains a superior history lesson, thanks to Beatty’s thorough
    command of the material and to his inclusion of real-life “witnesses” to the
    life and times of Reed. Their faces and voices give this romance some
    documentary ballast, and make it, now that they are gone, a moving archive
    of faded memories.

    Curiously, though, the movie may be less nostalgic now than it was in 1981.
    You might think the opposite, given the inglorious expiration of the Soviet
    Union, the founding of which feeds the idealism of the film’s main characters
    (who do, it should be noted, express some misgivings at the authoritarian and
    antidemocratic tendencies evident within the revolution, even in its early days).
    The strains of “The Internationale” do not set many pulses racing
    nowadays. But the dwindling of the socialist cause may also make it possible
    to look at “Reds” with fresh eyes, and to feel the nearness of the long-ago
    story it tells.

    But in 1981, Beatty noted, “this movie was so harmless that Ron and Nancy Reagan,
    who I always considered friends, arranged a screening in the White House.”

    A return engagement seems unlikely, for any number of reasons. But Beatty,
    who declined to speak to the American press when “Reds” came out, and who
    agreed to be interviewed for the making-of documentary that is one of
    the DVD’s extra features, regards his movie with renewed zeal.

    Warren Beatty: actor, director, writer, producer.

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    http://www.variety.com/article/VR111...goryid=15&cs=1


    Posted: Mon., Oct. 9, 2006, 4:47pm PT

    Beatty revisits 'Reds'

    By LIZ SMITH



    TALKING TO the ineffable Warren Beatty as he revisited his great epic of the
    Russian Revolution, "Reds." The movie -- celebrating its 25th anniversary --
    enjoyed a special screening this week at the New York Film Festival. The DVD
    comes out today for the first time with never-before-seen special features,
    including interviews with Warren and Jack Nicholson, etc.

    LIZ: How do you feel about "Reds" now?

    WARREN: Well, it's nice. We had a screening at the Directors Guild in L.A. and
    I realized I had never really seen it with an audience since December 1981.
    You know I never gave a single interview at the time "Reds" was first
    released. I didn't want to get in the way of the film itself.

    LIZ: Do you have a revisionist view of the movie?

    WARREN: I wish I had held it back for 25 years because it has a lot that
    applies to these times. Patriotism and profits are even more relevant today,
    seen between the Vietnam and the Iraq wars. People question other people's
    patriotism and profits seem to be foremost. ... Historically, the collapse of
    the Soviet Union cuts two ways -- both good and bad. It shows us people in
    a secular society will resort to religion in times of trouble. The movie is about
    an idealistic American man who doesn't really know what's going on. Usually,
    when I see my movies, I want to change this or that. I think. 'Oh, this is a
    terrible idea. I should change the music cue or something.' But this time I
    didn't want to change anything about the movie.






    http://www.variety.com/vstory/VR1117...goryId=38&cs=1

    Seeing 'Reds'
    Classic pic find home release

    By ADDIE MORFOOT


    For someone who didn't believe in promoting his films 25 years ago, Warren
    Beatty has certainly changed his tune.
    Thesp, whose 1981 pic "REDS" is just now being released on DVD, has
    recently cooperated with several publications in order to get the word out on
    the release.

    On Wednesday night after a special screening of the pic at Lincoln Center's
    Alice Tulley Hall, Beatty explained his past actions involving the media.

    "I am an odd case I guess. I don't believe in publicity for movies. I didn't do
    any interviews for this movie when it came out. For me to get up and start
    yakking about the movie when it came out would be possibly dangerous to
    the film because you never know if you are going to say something that
    obliterates what the movie is intended to be. It can be disruptive. So I didn't
    do that. Of course that was dumb because the nature of the film distribution
    in that late seventies (changed) so you have to do the publicity. I still think
    it is wrong but I do it."

    Beatty went on to explain why the pic's DVD release took so long.

    "This business (of) commentary tracks - all of that self inflation is also not
    helpful to the movie itself. I always avoided it. But then these very nice
    people at Paramount who were not quite as sleepy as I was said, 'Hey! Come
    on do this.' I also had some other friends of mine tell me, 'Get with the
    program. People do this now.' But I still didn't do the commentary over the
    scenes. I think that is just preposterous."

    Last edited by HWBL; October 11th, 2006 at 05:53 PM.
    Warren Beatty: actor, director, writer, producer.

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    http://www.newsday.com/entertainment...lumn?track=rss

    Gene Seymour

    'Reds' is still revolutionary
    October 15, 2006


    The idealism that both informs and inspires Warren Beatty's "Reds"
    seems so distant from the present day that it's not only impossible
    to imagine any movie like it being made today, it's hard to believe it
    was ever made in the first place - especially by a major Hollywood
    studio.

    In the extensive and illuminating commentaries found on the second
    of this 25th anniversary edition's two discs, even Beatty sounds
    astonished that he was able to put forth a three-hour-plus epic in
    which he played John Reed (1887-1920), a left-wing journalist who
    lived fast, died young and ended up as the only American buried in
    Red Square.

    When he won the 1981 Oscar for directing "Reds," Beatty said without
    a trace of irony that it was a justification of capitalism that a company
    such as Paramount (then owned by Gulf & Western) would invest so
    much money in a subject as provocative as American communism.
    Beatty says the same thing today while wondering if he would have
    been allowed today to make the film without computer-generated
    imagery - or, for that matter, its unhappy ending. Maybe yes;
    likely no.

    Such uncertainties help "Reds" look even better now than it did upon
    its initial release. The movie, which was given a high-profile revival at
    this month's New York Film Festival, sweeps you into its vortex of
    events from bohemian get-togethers in Greenwich Village and
    Provincetown, Mass., to the Russian Revolution and its jolting
    aftershocks. As with the very best historical epics, the movie also
    establishes an elemental zone of intimacy, especially with its two lead
    characters, Beatty's Reed and Diane Keaton's Louise Bryant, Reed's
    lover and professional colleague-competitor.

    Beatty gives "Jack" Reed an effective combination of bumptious
    earnestness and zealous drive. But Keaton is so riveting as Bryant
    that she seems to take over the whole movie. Her Louise starts out as
    a provincial libertine, emboldened by the possibilities of individual
    freedom at the turn of the 20th century, though not altogether
    reconciled to them. Her struggle to mediate what she wants with what
    she must settle (or fight) for embodies the movie's central tension. It
    is, to these eyes, Keaton's rawest, most emotionally demanding
    performance on screen. From what Beatty implies in his commentary,
    he took some risks in getting as much out of her as he did.

    Beatty also contained Jack Nicholson's combustibility into a seething
    performance as Eugene O'Neill, who becomes a rival for Louise's
    affections. ("I'd like to kill you," he says to her at one point, "but I
    can't. So you can do whatever you want. Except not see me.") One
    can't talk about the movie without mentioning the Oscar-winning
    performance by the late Maureen Stapleton as radical firebrand Emma
    Goldman.

    There are critics who complain that Beatty's approach to his radical
    subject is too traditional. "Reds" is built like a Hollywood romance. But
    its melodrama is offset by Beatty's ingenious use of real-life talking
    heads - referred to as "witnesses" - whose recollections of the era in
    general and of Louise and Jack in particular smooth out the story's
    exposition and enhance its historical resonance.

    Seeing and hearing such presences as Henry Miller, Rebecca West,
    George Jessel, Will Durant, Scott Nearing and Adela Rogers St. Johns
    makes "Reds" feel like a haunted cavern of lost passions. Without these
    folks, "Reds" would be little more than a smarter-than-average period
    piece - though these days, that would be quite a lot to settle for.

    REDS: 25TH ANNIVERSARY EDITION (Paramount)
    Last edited by HWBL; October 14th, 2006 at 05:24 AM.
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    http://www.startribune.com/459/story/739138.html

    Warren Beatty sees 'Reds'
    After years of shunning the format, the director and actor has finally
    come around for the DVD debut of his biggest film.

    Randy Salas, Star Tribune
    Last update: October 13, 2006 – 6:47 PM


    Warren Beatty isn't high on DVDs and the accompanying extras that
    explore the making of a movie. "I've never done one of these interviews
    for DVD, and I basically disapprove of it," he says in an interview on the
    new DVD of "Reds."

    Wait a minute. Back up.

    Did you get that?

    Warren Beatty is actually talking on a DVD about one of his films. And
    it's his most heralded work, 1981's "Reds," which he directed, co-wrote
    and starred in.

    "Reds" earned 12 Oscar nominations, with wins for Beatty as best
    director, Maureen Stapleton as supporting actress and Vittorio Storaro
    as cinematographer. Its release Tuesday on a two-disc set (Paramount,
    $20) leaves 1964's "Beckett" the only one of the 23 films with 12 or
    more Oscar nominations not available on DVD.

    In the 195-minute biopic "Reds," Beatty stars as John Reed, the early-
    20th-century U.S. journalist who became a Communist activist and
    wrote the landmark book "Ten Days That Shook the World," his
    eyewitness account of the 1917 Russian Revolution. Diane Keaton plays
    Reed's wife, feminist writer Louise Bryant, with Jack Nicholson as
    playwright Eugene O'Neill and Stapleton as anarchist Emma Goldman
    among Reed's luminary friends. Reed was so revered in Russia that he
    remains the only American interred in Moscow's Kremlin.

    "It was very much motivated by my own political activism of that time,"
    Beatty says on the DVD about why he made "Reds."[It] probably had a
    lot to do with what I thought was a mistaken American paranoia about
    communism and most particularly in Vietnam."

    Producing "Reds" was a years-long pursuit for Beatty, but he explains
    that he knew it would be a tough sell in Hollywood. So he directed and
    starred in the highly successful 1978 remake "Heaven Can Wait" to get
    some cred so he could make the controversial biopic. Loyalty to
    Paramount, because of its support for "Heaven Can Wait," drove Beatty
    to give the studio first dibs on financing "Reds," which executives finally
    agreed to do after much debate.

    "Here you had a company, Gulf & Western, which owned Paramount,
    which was the most competitive, the most capitalistic," says former
    Paramount chairman and CEO Barry Diller on the DVD. "And you had this
    company put up the financing for a film about John Reed, a great figure
    in the history of socialism in the U.S., communism, etc., and do it with
    a happy face."

    Beatty's involvement in the widescreen DVD's extras might not quite live
    up to the billing. Seven features are listed, but they actually are just
    small segments of one retrospective totaling a little more than an hour.
    Beatty is so enthusiastic, well-spoken and forthcoming in his interviews
    that one pines for him to provide commentary for the film, too. (The
    sole other extra is a new trailer made specifically for the DVD.)

    But let's take this one step at a time. Beatty has finally come around to
    DVD, and fans should see his new perspective bear fruit on forthcoming
    special editions of his criminal classics "Bugsy" on Nov. 14 and "Bonnie
    and Clyde" next year. There's no word on better DVDs of his other
    highly touted films such as "Dick Tracy,"Bulworth" and "Shampoo," but
    there's new hope for them. Oh, and "Reds" is due in the high-definition
    HD-DVD and Blu-ray formats on Nov. 7.

    Beatty is late to the DVD party, but it's good to see that he's finally
    arrived.
    Warren Beatty: actor, director, writer, producer.

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    Elite Member lalala's Avatar
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    Is this some kind of posting competition with Nitelife?

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    Elite Member HWBL's Avatar
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    Quote Originally Posted by lalala View Post
    Is this some kind of posting competition with Nitelife?
    No, this is shameless free promotion of one of the best movies in US
    cinematographic history.
    Warren Beatty: actor, director, writer, producer.

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    Elite Member lalala's Avatar
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    I didn't like it that much myself but I was just asking in jest I know you like the guy - I'll start my own De Niro thread next, watch out

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    Quote Originally Posted by lalala View Post
    I didn't like it that much myself but I was just asking in jest I know you like the guy - I'll start my own De Niro thread next, watch out
    I know you were But I just happen to think that, aside from liking the guy
    for his looks, he deserves to get more credit for his work as actor, director,
    writer and producer than he's received. I think in his early days, his image of
    "pretty boy" obscured many people's opinions on him being able to do anything
    but standing there and being handsome......

    PS> As for Nitelife: I don't think I've read any of his/her posts......

    PS2> Robert de Niro thread: Robert De Niro [Actor]
    Warren Beatty: actor, director, writer, producer.

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    Elite Member lalala's Avatar
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    I agree on both counts

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    http://www.calendarlive.com/movies/c...ovies-features


    'Reds' revived on DVD
    The revolutionary drama, filmed at the height of the Cold War,
    takes on new meaning 25 years later.


    By Tina Daunt, Times Staff Writer


    At the Directors Guild of America theater on a recent Saturday night,
    Warren Beatty watched "Reds" with an audience for the first time in
    25 years.

    It's not that he didn't want to see the movie since its release in 1981.
    After all, he directed, produced, co-wrote and costarred in the film
    about two American revolutionaries. In many ways, it was the one
    project that was always with him. It established him as a serious-
    minded actor with a deep interest in politics; it became the foundation
    for everything political he would do since.

    But how would it hold up?

    The DGA screening was a celebration, of sorts, for the "Reds" release
    today on DVD. Beatty was in the company of those who remember
    the days when Hollywood was still making epic films with intermissions.
    "It probably never would have been made today," Beatty said.

    Afterward, the crowd gave a standing ovation to Beatty, who said he
    was surprised by the reaction — the audience's and his own. The movie
    that he created at the height of the Cold War and in the midst of Reagan
    economics, had suddenly taken on new meaning in a time of real war.

    "It's more assessable now than it was then," said Beatty, in an interview.
    "It was fascinating to me the audience's response. The jokes were clearer,
    the remarks more resonant. The things that we attempt to excuse in the
    name of patriotism are clearer, as is the futility of war.

    "These values, these conflicts are eternal."

    Perhaps, Beatty reflected, he should have pushed for the release of the
    movie on DVD sooner. There's a lot in the 3 1/2-hour movie to absorb.
    Home viewing makes sense.

    The digitally restored movie, released by Paramount, is available on
    two discs, with six "Witness to Reds" featurettes about the making
    of the film.

    "I've never really paid attention to the DVD," Beatty said. "I've never
    pushed to have DVDs released on any of my movies, let alone 'Reds.'
    I never realized it was as important to that incarnation as I now do. It
    allows the older and more sophisticated audiences to experience the
    movies on their own terms."

    "Capote" director Bennett Miller, who moderated Beatty's Q&A after
    the "Reds" screening, said he welcomed the DVD release. He managed
    to find a VHS tape of the movie years ago and has watched it over and
    over. It has served as a guide for what cinema could accomplish, he told
    Beatty. "This movie takes on all the problems of humanity," Miller said.

    The movie portrays the life of John Reed, a Portland-born rebel who
    believes in the Communist cause so passionately that he travels to
    Russia in 1917 to participate in the revolution. Along the way, Reed
    (Beatty) falls in love with equally idealistic Louise Bryant (Diane Keaton).

    "It may be to Beatty's credit that he doesn't delete or water down the
    serious political issues that rage throughout the film," Los Angeles Times
    film critic Sheila Benson wrote when the film was released. "It was an
    unparalleled time, and Beatty gives it full weight."

    "I've always been interested in the conflict between the personal life
    and the public life," Beatty said recently. "Those factors always touched
    me about the story between the young idealists. It moved me that they
    gave up what many people are comforted by in their personal lives —
    they never had a child. And Reed dies before they can continue their lives."

    Coming of age in the '60s, Beatty said "Reds" gave him an outlet
    to "dramatize things that I felt I knew about." It was a huge success,
    with 12 Academy Award nominations.

    The actor said he screened the film for President Ronald Reagan, a
    personal friend, at the White House.

    Reagan was fascinated. "He turned to me and said, 'I didn't know you
    can produce and write and direct and act at the same time,' " Beatty
    said. "Then the president said: 'I was kind of hoping for a happy ending.' "

    Warren Beatty: actor, director, writer, producer.

    ***** celeb

  12. #12

  13. #13
    Elite Member HWBL's Avatar
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    http://www.ew.com/ew/report/0,6115,1..._21_0_,00.html


    Seeing 'Reds'
    With his 1981 political masterpiece finally
    available on DVD, Warren Beatty opens up to
    EW's Mark Harris about the epic, and what it
    means in 2006 by Mark Harris


    ON YOUR MARX... Beatty's Reed rallies the Middle East

    Warren Beatty, absolutely nobody should be
    surprised to hear, likes to take his time. He first
    struck upon the idea of making a movie about
    the early-20th-century journalist/revolutionary
    John Reed shortly after he finished 1967's
    Bonnie and Clyde. Fourteen years after that,
    his dream project Reds, the $32 million film he
    enjoys wryly referring to as ''a long, long movie
    about a Communist who died,'' finally arrived on
    screen, led by a cast that included Beatty, his
    then girlfriend Diane Keaton, and Jack
    Nicholson. The film went on to gross $39
    million; four of the 12 Academy Award
    nominations it received went to Beatty himself,
    as actor, writer, producer, and (the one he
    won) director.

    It took only 25 more years for Beatty to decide
    he was ready to do press for the movie. The
    occasion — speaking of a long wait — was the
    film's first-time-ever release on DVD (see
    review here), a medium about which the f
    ilmmaker admits ''negligence'' until recently.
    Though Beatty still dislikes commentary tracks,
    or, as he calls them, ''that ridiculous thing
    where someone talks during the scenes,'' he did
    participate in a DVD-only documentary about
    the film. The night before Reds showed to a
    lusty ovation at this year's New York Film
    Festival — where it seemed both more
    politically relevant than ever and the last
    example of a kind of intelligent epic romantic-
    historical moviemaking that has all but vanished
    — Beatty, 69, talked to EW about his
    masterpiece, and whether there's any room for
    it in the moviegoing world of 2006.

    ENTERTAINMENT WEEKLY: You've said that
    audiences are now connecting to this movie
    and its politics much more passionately
    than in 1981. But at the same time, a studio
    would never make Reds now. So what's
    gone wrong with the system?
    WARREN BEATTY:
    The motion-picture business
    is convinced that to make a lot of money for its
    stockholders, the most lucrative approach is to
    make a movie that has a $50 million or $60
    million marketing campaign and is in 3,000
    theaters on opening night. Obviously, that
    requires content for people who want to be
    entertained, to escape. More power to that
    type of movie — except there are other movies
    that don't fulfill those requisites, that, done
    well, would require big budgets. We have to
    look at the unintended consequences of those
    massive campaigns.

    Reds, in other words, could never be an
    indie, which is what most good American
    movies are these days.

    No. If you adjust for inflation, Reds would cost
    about $91 million. And it's the last movie with
    an intermission — it could only play once a
    night, so immediately, your gross is halved.

    It's hard to imagine what a marketing
    meeting about Reds would have sounded
    like.

    The people at Paramount were very supportive,
    but the fact is, there was no way to deal with
    it. And I didn't really address myself to that
    element of it — I was so exhausted by the end
    of the movie that I thought, There's nothing
    much I can do about this. The one thing I didn't
    want to do was the conventional publicity
    binge. I felt I would take up an amount of
    attention that would hurt the movie.

    Because of the immense amount of
    curiosity about your romantic life?


    LOVE AND WARREN ''If you have an active life
    politically or romantically, attention will be paid to
    those hot-button subjects, which is antithetical to
    perceiving a movie,'' says Beatty (shown with Keaton)
    now

    Yes, there was a lot of baggage. I was living a
    life [laughs]...dissimilar to the life I lead now.
    But it wasn't just that. I believed then, and
    now, that if you have an active life politically or
    romantically, attention will be paid to those
    hot-button subjects, which is antithetical to
    perceiving a movie.

    You mentioned earlier that you wouldn't
    mind if movies came out in theaters and on
    DVD at once.

    It's not a question of minding it. If we have an
    interest in salvaging the possibility of making
    serious, expensive movies, we should strongly
    advocate it, to benefit from the massive
    advertising expense of, as Mr. Rove would put
    it, a ''new product.''

    But TV's tough on a movie as vast in scale
    as Reds.

    Television sets are getting bigger and shopping-
    mall movie screens are getting smaller, so...I do
    think there's a third alternative — a large, large
    [moviehouse] screen that really gives you the
    mutuality of a moviegoing experience that you
    can't have either on your own or in a small art
    house.

    Since we're talking about the DVD release of
    Reds, which is over three hours long, how
    do you feel about the pause button?

    Of course, I would prefer that people not be
    able to interrupt me in a sentence! [Laughs]
    But interactivity is what we're living in. And it's
    great that you can have a movie in your library.

    Are there any downsides to DVDs?
    You can't do a remake anymore. You better
    remake a bad movie, because if you remake a
    good one, you're a shmegegge. The
    comparison's right there — they're gonna look
    at it and say, you're no Cary Grant, or Audrey
    Hepburn. Of course, we still do them. Remakes
    of serials are what we do predominantly now.

    You're talking about multipart franchise
    movies.

    Yes. Nobody takes them seriously, they make
    everybody feel better when they come out of
    the theater, and they're fun. Much better than
    drugs or alcohol. I'd have to sit and think a
    minute about sex...

    While you do that, let's talk about how your
    interest in John Reed started.


    HE KNEW JACK Nicholson as Eugene O'Neill

    I went to Harvard in 1969 and started reading
    about Reed, particularly Insurgent Mexico,
    which was more fun than Ten Days That Shook
    the World
    . He was...impetuous is the word that
    always comes to mind. But I didn't get mobilized
    — for me, it's like watching a snail mobilize —
    until the Russians said they were going to make
    a movie about John Reed. It had to be an
    American movie, made with an understanding of
    the pertinence of the Russian Revolution to the
    development of socialism in the rest of the
    world. The romance in Trotskyism, as opposed
    to what became the horrors of Stalinism.

    You joke about your slowness, but wasn't
    there also a degree of calculation in
    waiting? You knew that you'd have to
    expend a good deal of personal capital
    making the movie, and you started
    amassing that in the 1970s with Shampoo
    and Heaven Can Wait.

    You're probably giving me a little too much
    credit, but there might have been some actual
    thinking there. What was it Orson used to say,
    ''no wine before its time''? [Laughs] I needed
    very much to make Shampoo, because I
    wanted to make a movie about the pathetic
    nature of the compulsive Don Juan. It was
    funny, but it was also political. Heaven Can
    Wait
    was a movie that I thought would be fun
    to make with Muhammad Ali, but he didn't want
    to quit fighting, so I thought, I'll change the
    character from a boxer to a football player and
    play it myself. That was a big hit, and enabled
    me to make Reds rather than a sure-thing
    commercial picture.

    Tell me how you came up with the idea for
    the Witnesses [more than two dozen
    ancient real-life contemporaries of John
    Reed's, ranging from Henry Miller to
    Rebecca West to George Jessel, whose on-
    camera recollections help structure the
    movie].

    The Witnesses preceded everything. I really
    wanted Walter Lippmann, who was considered
    by the 1960s the wise man of journalism. I
    thought using him would save the movie from
    being perceived as some left-wing diatribe. For
    that very reason, he didn't want to be drawn
    into it. But I found that the more research I
    did, the more interested I got. The older people
    get, the less censorship they exercise. They
    don't care what you think. They care what
    they think, and don't waste a lot of angst in
    saying it. I couldn't resist putting them in the
    movie — and then I had to make the characters
    live up to those people.

    One of the many functions they serve in the
    movie is to remind you that memory is
    unreliable — that history is contradictory.

    Yes. As Henry Ford said, ''History is more or less
    bunk,'' and these people disagreed about
    everything! My 14-year-old has become quite
    captivated by the movie, and she said to me, ''I
    really like it because it takes everything with a
    grain of salt.''

    I love the fact that you were acting as an
    interviewer in the 1970s, right during the
    time —

    Yes, when everyone was doing it to me! I
    would try to get them, exposition-wise, to use
    the word abortion or Communist or to say
    something about the war. But in general, I got
    what I wanted.

    Did you ever consider shooting in Russia?

    DIRECTOR'S CHOICE Beatty with cinematographer
    Vittorio Storato


    I thought I'd be able to, but it was not to be. I
    was meeting with the Russian bureaucrats
    about the movie, and at some point I said
    something like ''Well, that was right before the
    Bolshevik takeover,'' and I saw their faces fall.
    And then I realized that I had not called it ''the
    Glorious Revolution.'' And I sat there and said to
    myself, ''Guess what? You're not gonna be
    shooting in Russia.''

    There was a good deal of tension between
    you and Paramount during the long
    European production of Reds. What caused
    it, and what eased it?

    What caused it? Buyers' remorse that they had
    agreed to finance this movie. I was honest
    about my uncertainty about what the picture
    would cost, and it's hard for a studio to make a
    movie with a guy who's producing, directing,
    writing, and acting, and the leading lady is
    someone he had a relationship with, and the
    third character is played by his close friend. I
    think that late at night in the Gulf + Western
    tower they thought, What are they doing over
    there? There were moments of a complete lack
    of communication. After a while, they came
    over, looked at footage, and said, ''Do what
    you think is right.''

    One of the things the movie does that you
    almost never see now is to ally the growth
    of the American left with a time of immense
    hopefulness, when everything seemed
    possible. Is anyone still hopeful enough so
    that the movie could be made now?

    The last passionate political movement came
    from the other side — it was Reaganism. And I
    think that they...meant well. This is a movie
    about the most passionate, idealistic period for
    a certain kind of socioeconomic thought.

    And when we watch the movie, we love
    John Reed for his passion and idealism —
    but not because things turned out as he
    hoped they would, since they didn't.

    Exactly. You have to give credit to people who
    want things to be better, and whose concern
    for their fellow man is uppermost in their
    philosophy.

    You showed the movie to the Reagans,
    right?

    Yes. And I remember two things that Ronald
    Reagan said after it ended. One was, ''How did
    you do all those jobs at the same time?'' And
    the other was, ''Gee, I was sort of hoping for a
    happy ending!''


    Warren Beatty: actor, director, writer, producer.

    ***** celeb

  14. #14
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    http://www.videobusiness.com/blog/17...89.html#review

    Warren Beatty Q&A

    VB Product Digest Editor Laurence Lerman recently spoke with
    Warren Beatty
    about his 1981 film Reds, the 25th
    Anniversary Edition
    of which will be released by Paramount Home
    Video
    on Oct. 17.

    VB: We’re excited to be talking to you about your first big DVD
    experience!
    BEATTY: My only DVD experience, that’s right. I hadn’t realized the
    importance of DVD before. But now I know that it’s terribly important.
    VB: And what has led you to realize that it’s so vital, business aside?
    BEATTY: I believe that DVD is that which gives some hope to
    retaining some content in movies that will appeal to an older audience or
    the more sophisticated audience or the audience that doesn’t need or
    desire to see a movie on a Friday night that audiences in three thousand
    other theaters can understand. DVD delivers such a large portion of the pie
    that it’s time for us to face the facts coupled with these new technologies.
    VB: What was it like sitting down and examining a film that you
    wrote, produced, directed and starred in over 25 years ago?
    BEATTY: It was a pleasure, a real pleasure.
    VB: You famously did not conduct any interviews to promote the
    film when it was released theatrically back in 1981.
    BEATTY: I don’t feel that I get in the way of the film now like I
    did back then. Reds stands on its own today. I really have the feeling
    after seeing at the Director’s Guild the other night with an audience of
    seven hundred people that the issues in the film are more accessible
    because we are now in a war, which were the conditions that existed
    during the times that the movie covers. The words are clearer—“profits”
    is a subject that’s clearer.
    VB: “Profits”—your character’s first line of dialog in the film.
    BEATTY: “Patriotism” or the perception of what is patriotic or not
    patriotic is also clearer now. It makes you feel good when a movie works.
    Usually when I see an old movie I’ve made, I say to myself, ‘Oh God, why
    did I do this?’ and ‘Why didn’t I change that?’ and things like that. With
    Reds, I didn’t see anything in it that I would change. And that’s an
    unusual feeling.
    VB: I got that feeling after seeing what you had to say in Laurent
    Bouzereau’s supplemental documentaries. It was great to see [co-star]
    Jack Nicholson and [editor’ Dede Allen and [cinematographer] Vittorio
    Storraro appearing in new interviews about the film. Did you have to
    twist their arms to get them on board?
    BEATTY: No, not at all.
    VB: Not even Mr. Nicholson?
    BEATTY: No, no (laughs). It was a good experience for everybody
    and they were all happy to do it. Sadly, [production designer] Dick Sylbert
    and [costume designer] Shirley Russell are no longer alive and others are
    also gone.
    VB: Do you consider recording a director’s commentary track?
    BEATTY: I don’t think you should talk while the movie was going
    on and say, ’Oh, look at that—look how smart I was’ or ‘What a brilliant
    shot that is!’ I don’t believe in that. Then again, I didn’t believe in doing
    any of this DVD stuff and now I do.
    VB: What prompted you to jump on the DVD train at this point in
    your career?
    BEATTY: I began to realize that if one was able to do this, then one
    owes it to the film itself so that the film can take the same advantages
    that books take. Now, like books, we that we can put it in our library and
    we can read it when we want to and we can put it down and then come
    back to it if we want to go to the bathroom or kitchen. We can do it at
    our own pace and it’s a more interactive experience then going to a movie
    at the theater and waiting for a boring scene until we can go to the candy
    counter.
    VB: And who’s to say if it’s a boring scene or not until the movie’s
    over?
    BEATTY: That’s right. So, I mourn the loss of the gigantic screen,
    but I guess you can’t have everything.
    VB: I don’t know if I’d consider it a loss. Maybe DVD is just
    accessory to the giant screen.
    BEATTY: Or the giant screen will be the accessory to the picture
    that you watch at home.
    VB: You have so many other films that warrant the kind of Special
    Edition treatment that Reds has received. What film would you like to
    tackle for your next DVD?
    BEATTY: That’s like asking which of your children do you like the
    most!
    VB: Oh come on, I’m sure all parents have a favorite child! Certainly,
    there are some films that mean a bit more to you than others?
    BEATTY: Well, the pictures that I produced I feel very close to.
    Whether it’s Bonnie and Clyde or Bugsy or Bulworth or Heaven Can Wait
    or Reds or Shampoo or Dick Tracy—I believe they’re all very good movies
    and worth the attention.
    VB: That said, do you see yourself working on the DVD for some
    of these films over the next couple of years?
    BEATTY: Yes, I think I’ll be much more actively interested in doing
    that now. After I finished doing Reds, then I got very interested in doing
    the DVD for Bugsy, which I just did with Sony.
    VB: Yes, it’s coming out in December. Maybe we’ll talk to you
    again about that one when the time comes.
    BEATTY: Well, that would be fine.
    Warren Beatty: actor, director, writer, producer.

    ***** celeb

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